Abandoned Delta‘s self-titled debut is a uniquely beautiful alt-country album that combines the delicate nature of Mojave 3’s work with thick arrangements that leave little space unfilled. However, the tightly constructed arrangements of tunes like “I Am Gold,” “Tulsa,” and “Cause and Effect” result in a tender–even sweet–whole instead of becoming impenetrable. Pedal steel, keys, gentle tenor vocals, wispy harmonies, pristine electric guitar strums, and loping acoustic guitar picking mesh into a dense web of sound that is always awash in warm, sunny vibes.

But this isn’t West Coast Laurel Canyon work; there’s a Midwestern lyrical and melodic groundedness permeating the whole work. It may make me want to float away, but the songs don’t sound like they’re going to get lost anywhere. “My Heart’s an Open Road” accelerates the tempo, amps up twang, and infuses a sense of humor to the proceedings–the Western Swing influences in the songwriting is a lot of fun. Elsewhere, contented horns hover above the slightly more ominous “Black Car,” and the acoustic guitar gets a feature in “I Never Lived in New Orleans.” It’s not folky, though–and that’s the most marvelous element of Abandoned Delta. The members have a consistent, distinctive sound that integrates elements of other genres seamlessly. If you like beautiful music, alt-country, or hearing musicians at the top of their game, you need to check out Abandoned Delta.

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I find the self-aggrandizing crowd screaming that attends most live records tiresome, so I don’t cover many of them. However, Charles Ellsworth‘s Live from the State Room has such great songwriting contained in it that I must commend it to you. (It also doesn’t have that much audience howling, which I appreciate.) Ellsworth is a guitar-and-voice troubadour, gifted with a melodic sense in his hands and throat. The ten songs of State Room show him breaking out his solo material first, then transitioning to a full-band set-up later. It allows him to show off his poignant lyrics and weighty vocals in an intimate setting first, then gently augment that core sound. “The Past Ain’t Nothin” is the highlight of this section, a tune that unspools several emotional narratives linked by a vocal motif. It hits home to me, musically and lyrically.

Once the band joins in, the poignant elements of his sound get amped up, notably on “In My Thoughts” (which IC had the privilege of premiering). A swooping cello and tasteful drums underscore the gravity of the tune. “Fifty Cent Smile” is another standout, built on train-rhythm drums and one of the most memorable vocal melodies of the record. Even with a full band, Ellsworth never lets the sound get weighed down; many of the lovely tunes keep a fragility about them. (A notable exception is the noisy “Take a Walk,” which is “about having anger issues.”) Live from the State Room is that rare live record that feels like a real experience captured on tape; it’s a great introduction to Ellsworth’s charms for the uninitiated. You can get now as part of his “Not a Kickstarter” campaign.

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We All Go Up the Mountain Alone Together by hunters. is a drama-filled folk album with strong female vocals. The 11-song album puts the spotlight on Rosa del Duca’s alto pipes, which have a mature quality not unlike those of Lilith Fair artists. Other ’90s singer/songwriting influences creep into the folk instrumentation too: a flourish here, a chord structure there, an unexpected vocal embellishment.

The band leans more toward chord-strummed folk than finger-picked folk, so tunes like “Firestarter” have lineage that can be drawn from many points. del Duca’s voice shines on “Firestarter,” as she ratchets up from an calm presence to an intense delivery and back several times. The band frames her performance with a tense arrangement of spacious, jazzy drums and nimble upright bass. “Painting the Roses Red” takes on a bit of a country vibe, while “Orion” recalls ballad-bluegrass guitar (but with their overarching mood of dramatic tension). Fans of female-fronted singer/songwriters and folk artists will find a mature, vocals-driven folk album in We All Go Up the Mountain Alone Together.